A memoir done in the form of a graphic novel by a cult favorite comic artist offers a darkly funny family portrait that details her relationship with her father--a funeral home director, high school English teacher, and closeted homosexual.
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Alison Bechdel’s Fun Home: A Family Tragicomic has quickly joined the ranks of celebrated literary graphic novels. Set in part at a family-run funeral home, the book explores Alison’s complicated relationship with her father, a closeted gay man. Amid the tensions of her home life, Alison discovers her own lesbian sexuality and her talent for drawing. The coming-of-age story and graphic format appeal to students. However, the book’s nonlinear structure; intertextuality with modernist novels, Greek myths, and other works; and frank representations of sexuality and death present challenges in the classroom. This volume offers strategies for teaching Fun Home in a variety of courses, including literature, women’s and gender studies, art, and education. Part 1, “Materials,â€ outlines the text’s literary, historical, and theoretical allusions. The essays of part 2, “Approaches,â€ emphasize the work’s genres, including autobiography and graphic narrative, as well as its psychological dimensions, including trauma, disability, and queer identity. The essays give options for reading Fun Home along with Bechdel’s letters and drafts; her long-running comic strip, Dykes to Watch Out For; the Broadway musical adaptation of the book; and other stories of LGBTQ lives.
Dramatic Intertextuality in Alison Bechdel s Fun Home A Family Tragicomic Exploring Gender and Sexuality Through Shakespeare and Wilde
- Author : Elien Khouri
- Publisher : Unknown
- Release Date : 2017
- Genre : Uncategorized
- Pages : 231
- ISBN : OCLC:1050022395
This thesis will examine how Alison Bechdels 2006 graphic memoir "Fun Home: A Family Tragicomic" uses references to William Shakespeare, Oscar Wilde and their works to explore Bechdels and her fathers sexual identities and gender identities. First, I will argue that Bechdels use of dramatic intertextuality is often ignored in favour of her use of modernist canonical fiction. Then I will proceed to explain why dramatic intertextuality is important for the graphic narrative and for Fun Home in particular. Afterwards, I will specifically focus on the dramatic intertextual references to Shakespeare and Wilde. I will argue that Bechdel explores her own gender identity by indirectly referencing Shakespeares use of theatrical transvestitism. Then I will argue that she explores her fathers sexuality by comparing him to Oscar Wilde and the homosexual archetypes he used in his plays. I will conclude my thesis with a discussion on how Bechdel employs indirect and direct dramatic intertextual references and what these references convey about her gender identity and her fathers sexual identity.
- Author : Maja-Felicia Kristan
- Publisher : GRIN Verlag
- Release Date : 2019-09-23
- Genre : Literary Collections
- Pages : 17
- ISBN : 9783346020376
Research Paper (undergraduate) from the year 2018 in the subject American Studies - Literature, grade: 1,0, University of Erfurt (Philosopische Fakultät), course: Literature in Images: Graphic Novels, language: English, abstract: This work analyzes the perception of authencity in "Fun Home". Alison Bechdel’s "Fun Home" from 2007 is a graphic memoir that tries to create a sense of truthfulness to the reality of the author’s memories by employing various means. This paper examines the techniques Bechdel uses for the creation of what may look for the reader like authenticity. By using for example Philippe Lejeune’s autobiographical pact the text closely analyzes the presentation of text and image concerning the protagonist Alison and the narrating voice as well as the role of photographs in the text. By investigating the protagonists self-portrayal through text and images this paper tries to point out the successfulness of appearing truth of the story as well as distinguish in which instance a disruption of before identified means in form of fictionalization can be found in the text and how this influences the perception of its authenticity. The second part of the paper then focuses on photography as another means to invoke a perception of truthfulness in the text with special attention to photography as means of memory and truth, based on theories by Roland Barthes and Marianne Hirsch as well as its possible fictionalization through the confines of the graphic novel genre and its significance in relation to the text’s authenticity.
"When her father dies unexpectedly, graphic novelist Alison dives deep into her past to tell the story of the volatile, brilliant, one-of-a-kind man whose temperament and secrets defined her family and her life. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the looming, unanswerable questions about her father’s hidden desires. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes."--
Comics featuring LGBTQ children have the burden of challenging cis/heteronormative versions of childhood. Such examples of childhood, according to author Katherine Bond Stockton, are false and restrict children to a vision of innocence that leaves no room for queer children to experience their own versions of childhood. Furthermore, the Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) community has taken a "progressive"-based approach to time, assuming that newer generations have avoided the trauma of the past because ideas about sexual orientation and gender have advanced with time. Newer generations of the LGBTQ community forget that many have struggled for change to occur, instead choosing to forget the wounds of the past. By analyzing two comic works--Alison Bechdel's graphic novel Fun Home and Sophie Labelle's web comic series Assigned Male--I argue that we must let go of our suspicion towards LGBTQ child characters and open ourselves up to what can be learned from them. I also argue that both the past (with its wounds and trauma) and the future must be accepted into the present in order to give children the childhood they desire, rather than the childhood we recall. Both Fun Home and Assigned Male demonstrate that childhood is far from the simplistic happy time of life and can be just as fraught with complication as adulthood. Rather than try to protect children from this, these authors argue that we should empower children to locate their own sense of authenticity, in terms of both gender and sexuality. I argue that children are full of possibility and wisdom to guide current populations and change the future for the better through their struggles.
Seminar paper from the year 2018 in the subject Literature - Modern Literature, grade: 3,0, University of Erfurt, course: Literature in images: Graphic Novels, language: English, abstract: A lot of graphic novels work with Intertextuality, because as a visual medium they can represent or quote another text even better than a normal novel. Alison Bechdel’s Fun Home is a prime example of those graphic novels that use intertextuality. Her memoir is full of pop culture and book references. My thesis is that the literary works and stories she has woven into her story mirror her own story and exist to further illustrate her struggles coming of age.
Alison Bechdel s Use of Canonical Modernist Literature in Fun Home A Family Tragicomic The Case of Fitzgerald Joyce and Woolf
- Author : Marijke De Wilde
- Publisher : Unknown
- Release Date : 2015
- Genre : Uncategorized
- Pages : 231
- ISBN : OCLC:949800638
Theatre has long been considered a feminine interest for which women consistently purchase the majority of tickets, while the shows they are seeing typically are written and brought to the stage by men. Furthermore, the stories these productions tell are often about men, and the complex leading roles in these shows are written for and performed by male actors. Despite this imbalance, the feminist voice presses to be heard and has done so with more success than ever before. In From Aphra Behn to Fun Home: A Cultural History of Feminist Theatre, Carey Purcell traces the evolution of these important artists and productions over several centuries. After examining the roots of feminist theatre in early Greek plays and looking at occasional works produced before the twentieth century, Purcell then identifies the key players and productions that have emerged over the last several decades. This book covers the heyday of the second wave feminist movement—which saw the growth of female-centric theatre groups—and highlights the work of playwrights such as Caryl Churchill, Pam Gems, and Wendy Wasserstein. Other prominent artists discussed here include playwrights Paula Vogel Lynn and Tony-award winning directors Garry Hynes and Julie Taymor. The volume also examines diversity in contemporary feminist theatre—with discussions of such playwrights as Young Jean Lee and Lynn Nottage—and a look toward the future. Purcell explores the very nature of feminist theater—does it qualify if a play is written by a woman or does it just need to feature strong female characters?—as well as how notable activist work for feminism has played a pivotal role in theatre. An engaging survey of female artists on stage and behind the scenes, From Aphra Behn to Fun Home will be of interest to theatregoers and anyone interested in the invaluable contributions of women in the performing arts.
- Author : Anonim
- Publisher : Unknown
- Release Date : 2009
- Genre : Intertextuality
- Pages : 90
- ISBN : OCLC:404166124
Literary Nonfiction. Growing up queer in the deep South, Genevieve Hudson longed for stories about lives like her own. So she turned to Alison Bechdel's groundbreaking graphic memoir, FUN HOME. In its panels, she found sly references to Bechdel's personal influences. A Little in Love with Everyone is Hudson's journey down a rabbit hole of queer heroes like Audre Lorde, Eileen Myles, and Adrienne Rich, who turned their stories into art and empowered future generations to embrace their own truths. This book is part of a new series from Fiction Advocate called Afterwords.
The Fun House by Tom Bissinger is a rollicking tale of coming of age in the sixties and seventies. Based on the childhood thrills he experiences at the fun house at Playland in San Francisco, Tom comes to understand that making fun houses and exploring those of others would become the defining quest of his life. He's brought up in privilege, and like his father who had at one time performed on Broadway, Tom's drawn to the theater. After boarding school and his immersion into a repertory theater company while attending Stanford, he lives in Paris then enlists in the army then moves to New York, and we are at the birth of the sixties, erupting like a bombshell, and Tom is there to celebrate and be open to the Golden Age of New York theater while simultaneously weaving the momentous events of that era into his story: assassinations, civil rights marches, and the Vietnam War. Sexual experimentation and drugs follow Tom as he ricochets through love affairs, directs plays, and marches in Selma. He moves to Philadelphia in 1969 to become the artistic director of the Theatre of Living Arts. In 1970, Tom abandons the legitimate theater and reinvents himself on Philly's South Street. Tom paints emotionally vivid portraits of neighborhood characters who hang out in Tom's new fun house: eccentric old-timers, newly minted hippies, artists, dopers, and a murderer. In 1977, Tom, his wife, Kristen, and their two-year-old travel for nine months as nomads: they live with Samoan families, spend two months on a fifty-foot trimaran in Fiji, live at Papunya Aborigine settlement in Australia, fall into a drug smuggler's den in Bali, and end up in an ashram in Sri Lanka before returning home as the book ends.
-- Full-color, spiral bound hardcover with full-color interiors -- Four tab-divided sections -- Each section contains 12 full-color pages with activities and space to record highlights and comments -- 96 Full-color pages -- Convenient pocket size trim; makes is easy to take with you wherever you go! -- Trim Size: 5" x 6 7/8" Fantastically fun ideas designed to make your home an inviting place for family and friends! Sections include: Fun on the Outside, Fun on the Inside, Fun with Crafts, and Fun in Store
Animal [email protected] is an information and activity workbook for parents. It engages parents as partners to extend the practice and learning of the Animal Fun program into the home. Some basic developmental information provides parents with the theory and rationale behind the activities within each of the Animal Fun modules together with some ideas for activities that the whole family can do together.
Cartoons examine the pains and pleasures of growing up, with satirical looks at school, friendships, family life, and the trials of adolescence
Khi wakes up ready to play! He wants to play with his friends and go to the park. He wants to sing songs and learn new things at school. There are so many exciting things Khi wants to do ... but he can’t. Khi has to stay home. It’s not all bad, though. Mom and Dad have ideas to make Khi’s day fun. They use pots and pans and pretend to be in a rock band. They use markers, crayons, and paint to make masterpieces. They build a fort and dance until Khi realizes staying at home isn’t so bad after all. In the midst of a pandemic, both children and adults are faced with a new reality. Families navigate the tough task of keeping kids occupied during stay-at-home orders, but despite crisis, creativity can bring people together. With the help of Khi and his parents, children might think of a few new things to do while staying healthy and safe.